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From Rory's hometown, the angst of McIlroy

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From Rory's hometown, the angst of McIlroy

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HOLYWOOD, Northern Ireland — About 3,000 miles from here, Rory McIlroy walked along Manhattan’s West Side five weeks ago; shoulders pushed up, head slung down, earbuds in. He strolled the High Line, a repurposed freight rail running from Gansevoort Street to 34th Street. The 1.5-mile footpath towers 30 feet over 11th Avenue, above the fray, but through the noise of America’s busiest city.

That’s where McIlroy went to get away from it all.

He needed to process the latest close call in a career coming to be defined by them. This one? Especially cruel. Pinehurst. Three bogeys in the final four holes. Those missed putts. Two feet and 11 inches on the 16th. Three feet and nine inches on the 18th. A solo runner-up finish at the U.S. Open. Again.

McIlroy wanted the blur of a big city, where everything is fast, faceless. It’s what he prefers nowadays. He walked alone, hidden under the brim of a baseball cap, then dipped into Milos, a world-class Mediterranean restaurant in Hudson Yards. He elbowed up at a bar seat, checked his phone and opened a text message from a close friend.

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That message? It asked if he’d just been walking the High Line. Apparently, McIlroy had been spotted. Word got around.

“It’s hard to get any sort of privacy these days,” he says. “But it’s nice to try to blend in as much as possible.”

Ages ago, McIlroy found solace along the narrow streets of Holywood, this small town where the butcher knows the baker, and the bartender knows the banker, and the bookmakers know the bookkeepers. They all live here, tucked between Belfast and Bangor, along the shoreline of Belfast Lough, the inlet connecting this section of Northern Ireland to the Irish Sea. A little more than 10,000 people. Solidly middle-class. Wealth around the edges. A mix of Protestant and Catholic. They’re abundantly proud to have raised generations of kids well isolated from the religious tensions that long defined the region.

As one local puts it: “A lovely little town. Everybody has grown up with everybody.”

Holywood was the early proxy used to explain Rory to the world upon his arrival in 2008 as a potential superstar. Sportswriters and broadcasters traveled here like pilgrims. More and more from his breakout U.S. Open win in 2011 to his thunderclap in 2014 — winning his third and fourth majors in succession at age 25.

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The visitors drove rental cars down High Street. They squeezed into parking spaces and popped into one business after another. Holywood’s main strip is dotted by coffee shops, cafes and retail shops. You can’t read a story from back then without a mention of Skinners Bakery, where owner Valerie Baker designed biscuits and buns with Young Rory’s face. In 2014, after McIlroy’s win at the PGA Championship, she told the Belfast Telegraph: “It’s become something of a tradition now. This is the fourth time we’ve baked our special Rory biscuits. They always sell out.”

Next door to Skinners is Orrs Butchers. That’s where writers found Stephen Moore. He’d say how much the town was buzzing. How Rory put little Holywood on the map. How he was going to win the next major, and then the next one after that.

Inevitably, the visitors would head up the hill, deeper into town, to Holywood Golf Club. Where Rory learned the game. Where local liquor laws were winked at as family and friends watched final rounds of major tournaments long after last call. Where television cameras broadcast them cheering their boy, Rory. He would win, return to town with a trophy, and everyone would be together again.

Today, things are different, but Holywood remains.


It’s a Friday afternoon and Paul the barman is looking for the key again.

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Two Americans are coming off the 18th hole and want their turn. Rory’s Corner, a mini custom-built McIlroy museum in the middle of Holywood GC’s clubhouse, is open to the public. The walls are covered. Pictures of a 15-year-old with big freckles and bigger hair. Framed newspapers of long ago wins. Plaques. Memorabilia.

So for the umpteenth time today, the trophy case is opened, and replicas of the Claret Jug and Wanamaker Trophy are handed over. Big smiles. Pictures snapped.

Later, two Aussies will come in to do the same. Paul will fetch the keys, take them to the trophy case, pop it open again.

Shortly after that, near sunset, a sightseeing bus from a docked cruise ship will climb the hills of Holywood, turn down Demesne Road, and pull onto Nun’s Walk, the tiny road leading up to the clubhouse. The Home of Rory McIlroy is a stop on the tour.

“All day, every day, seven days a week,” says Stephen Tullin, president of Holywood Golf Club.

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You can make a reasonable case no club is so associated with a player it produced as Holywood is with Rory. Arnold Palmer and Latrobe Country Club? Jack Nicklaus and Scioto? It’s a short list.

“I don’t know what course Tiger Woods was involved with as a lad,” says Tony Denvir, a Holywood GC member. “But everyone knows Rory McIlroy was, and is, a member of Holywood Golf Club.”

The reason, it seems, is the fairy tale, one told so many times. Born in 1989 to Gerry and Rosie McIlroy, Rory McIlroy was immediately a prodigy. His parents worked multiple jobs, trading night and day shifts, assuring the boy every opportunity. Gerry, a fine player in Belfast’s amateur golf leagues, taught his son the game and let him loose at Holywood. He was so good, so soon, the club made him a member at age 7. Rory left high school at 16 to focus on a game that grew larger than life. The result was a young lad coming from a working man’s club to conquer the world.

“Nobody was ready for what happened,” says Barry Dobbin.

Now 78, Dobbin still seems to be wrapping his head around it all. A lifetime ago, he owned a timber-frame housing kit company and employed Gerry as an insulation installer. He, Gerry, and Gerry’s father, Jimmy (Rory’s grandfather), played golf together. Dobbin drove Gerry and Rosie to their 1988 wedding, then to the reception at Pips International, the best-known nightclub in Belfast.

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He remembers Rory as a baby.

And he remembers that baby suddenly becoming the biggest story in the golfing world.

“It all happened so quickly,” Dobbin says. “And suddenly we were this magic place.”

The waves of tourists that come through today want exactly that. A piece of magic. Americans, Canadians, Swiss, French, Japanese. They fork over greens fees to play what amounts to a simple, short, 120-year-old parkland course. They ask to hear all the stories. They take pictures of the sign in front of Rory’s reserved parking spot.

On this day, a nondescript sedan is parked there.

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“Oh, that’s Paul’s,” Denvir says.


The sound on the 18th green at Pinehurst last month was guttural. A gasping, shrieking, sighing, moaning anguish. The thousands of fans surrounding the final hole of the 2024 U.S. Open couldn’t believe McIlroy missed that putt. At the same time, they absolutely could believe it. They’ve seen it before. That’s how a major tournament winless streak goes from 36 to 37.

In Holywood? All was quiet that night.

“Back in the day, Rory in contention at a U.S. Open, this place would’ve been jam-packed for that,” Denvir says. “Bar would’ve been full. Overflow seating in the other room. Would’ve been fantastic craic.”

That was back when the bar stayed open late and the cameras came out. BBC, Sky Sports. Maybe ESPN. Photographers snapping away.

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“That’s died off a wee bit,” Denvir says.

Instead, everyone watched the misadventures of Pinehurst from home.

Blank faces in front of the flickering screens.

“Pinehurst was … ” Denvir says, lifting his hands and dropping them. “You really could tell that the wee lad just wanted to stand there and cry. He was obviously heartbroken. It was so hard to watch.”

Sitting on a deck perched over Holywood’s 18th green, Denvir looks over at Tullin, who has known McIlroy’s family for 50-some-odd years. Tullin remembers watching Rory play junior competitions when the bag was taller than the boy, when he’d step to the tee and the whispers would begin. “Who’s this now? Oh, that’s Rory McIlroy.”

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“We were heartbroken as well, yeah?” Tullin says, looking back at Denvir.

“Absolutely. Just stunned,” Denvir says, pausing, thinking, “Ten years now, since he’s won a major? Ten. Just incredible.”

“It is incredible.”

“2014, yeah? That’s just…“

“Crazy, isn’t it?”

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These are the conversations that have replaced the parties at Holywood Golf Club. The lover’s lament, so to speak. It’s impossible to change the topic when there’s only one topic. So pints are poured and Rory is discussed. The keening of near-misses or summoning of old times. Eventually, inevitably, his face pops up on the TV screen and everyone stops.

The whole town is subscribed.


“Hi, I’m wondering if Stephen Moore is here?”

“Ah, s—,” the old man says, eyes pressed closed, hands atop the cold metal of a butcher’s display, “what’ve I done now?”

Meet the most popular man in Holywood. Moore was born here in 1965, took a job at Orrs at age 15, bought the shop years later, continued working, sold it a few years ago, and now shows up each Saturday, pulling on an apron, mainly so he can still see everyone, and so they can see him. Moore can not go more than two minutes without being interru…

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“Hi, Tommy!” he hollers.
“Stephen!”
“You good?”
“I’m fine.”
“Good man.”

Moore was interviewed by the likes of ESPN and the Washington Post back in 2011, when Rory was on the rocket and the Open Championship was on its way to Royal Portrush, only 60 miles from Holywood.

“It was a phenomenon,” he remembers.

Moore went to school with Brian McIlroy, the youngest of Rory’s uncles, and worked at Orrs alongside Eva McIlroy, Rory’s grandmother. She drove a Volkswagen Beetle, but couldn’t park it. So she’d arrive at work, leave the VW in the middle of the street, and tell Young Stephen to go park it. Later, Moore’s sister married Colm McIlroy, another of Rory’s uncles.

Today, all the McIlroys still live in Holywood. Colm runs a pressure-washing business and plays golf out of HGC. Gerry and Rosie split time between Northern Ireland and the United States. When they’re in town, Gerry can be found each morning on the 4-mile stretch of beach from Seahill to Holywood. He likes to walk alone, Moore says.

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“Down to earth, solid people,” he adds, waving to a passerby.

“Heyyy, Sam.”
“Hello, Stephen!”
“You get that thing sorted?”
“I did, I did.”
“Good, good. Cheers.”

Moore remembers both childhood Rory bouncing down High Street as a kid and, only a few years later, a freshly famous Rory drawing crowds and newspaper photographers when stopping for coffee. He couldn’t imagine such attention.

“Hi, Stephen!” a passing woman says.
“Hi, Annie! Go sit in your garden and enjoy this weather, would ya!”

Moore watched the U.S. Open at his house. A few mates. A few beers. They thought it was over as Rory teed off on 15. The boys damn near began celebrating.

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“Two silly putts,” he says. “Everyone was heartbroken.”

It’s odd, like storms in one sea changing the currents upon another shore. Even though he’s not there — and hasn’t been here in at least a year or two — as Rory goes, so goes the Holywood. There’s the buildup to each major, that this will be the one. Then the letdown. McIlroy has 11 top-five finishes in the 37 majors since his last win, including three second-place finishes in the last three years. It didn’t seem like anything could be more wrenching than the near-miss at St. Andrews in 2022, but Pinehurst was somehow worse.

So here sits Holywood, waiting for time to change.

“I think it’d just be a relief, to tell you the truth — to just see ‘em get it off his back,” Moore says. “I think he’s just trying too hard sometimes. Who can blame ’em? He’s won loads of championships, but this major thing is just following him around.”


At The Maypole, a pub in Holywood’s town center, you’ll find things can begin to feel odd after 10 or 15 minutes. Then it hits you — the bar is full, but also quiet. Everyone is talking, but not shouting. No music is playing. No TV is on. A sign by the door reads: “In the interest of good conversation and serious drinking, please refrain from using mobile phones.”

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This place is a free competition of ideas, and when it comes to Rory, everyone has an opinion.

One local philosopher, eyebrows raised toward the ceiling, slows his brogue to say McIlroy needs to stop speaking to the media and only worry about playing golf.

Others have their own varying thoughts, namely, the man is worth multiple hundreds of millions, so, yeah, it’s tough to feel too bad. “Poor Rory?” one said. “I don’t think so.”

But even those cynics want to see McIlroy win again, if only for a change of conversation.

Plenty in town are suspicious of an out-of-towner. Antennae are up, assuming questions about golf will lead to questions about Rory’s personal life, one month after he withdrew his petition to divorce wife Erica Stoll after a seven-year marriage. Seeing a notebook, plenty in Holywood kindly scooted away.

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The instinct, of course, is to protect.

He is theirs, not ours.


Rory McIlroy’s major tournament winless streak extended to 37 at the 2024 U.S. Open.  (Luke Walker / Getty Images)

Walking off the 18th green at Royal Troon on Monday, 21-year-old Tom McKibbin folded his arms, thinking about home. He grew up in Newtownabbey, across the Belfast Lough, about 12 miles from Holywood. Growing up, he spent his days playing on Rory’s old course, training in facilities installed by Rory and, after developing into an elite talent, answering constant questions about being The Next Rory.

McKibbin turned professional in April 2021 at age 18, just as Rory did. This year, he won the European Open in Germany — his first tournament championship on the DP World Tour. Cameras returned to Holywood to capture members’ reactions.

This week, McKibbin is appearing in his first Open Championship. He says he feels comfortable. A top-40 finish in last month’s U.S. Open — his first career major — was reassuring. Plus, he’s getting older and is out on his own more. While McKibbin lives at home with his parents in the summer, he now spends part of the calendar in Dubai and is eying an eventual move to the States — “hopefully someday soon.”

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On a recent return trip home, he got a glimpse of how such success changes things.

“Suddenly a lot more people know you at home,” McKibbin says. “I guess that’s sort of what you sign up for.”

McKibbin is a product of what McIlroy means to Holywood. There’s been charitable work — both seen and unseen. There’s been loads of money made off his draw to the town. According to those at the club, he helped keep the place afloat during COVID-19 and single-handedly put €800,000 into clubhouse renovations. He pumped financing into an expanded junior program, thinking that, if every kid in the area wants to be Rory McIlroy, they should be able to practice where he played.

Part of the clubhouse renovations Rory paid for included the installation of a modern gym, one for him to use when in town, whenever he visits the massive property he owns. Though it’s been awhile, he’s been known to show up at the club in shorts and T-shirt, wearing earbuds, to get in a workout. “He’s totally normal when he’s here,” Tullin says. “Like he just wants to be normal.”

But that’s the hard part. The longer he’s gone, the harder it is to be normal.

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“When you go home seldomly, it’s almost like you’re more of a novelty,” McIlroy said last week. “It’s sort of counterintuitive.”

Perhaps there needs to be a reason for a proper reunion.

And perhaps this could be it.

Stephen Moore says he played a round at Holywood with Colm McIlroy the day after the U.S. Open. The two smacked shots and recounted that impossible ending at Pinehurst. According to Stephen, Colm decided to fire off a text message to Rory. Something like, “Well, nephew, get ‘em the next time.”

The phone dinged back. Rory replied that the loss only made him more determined to win at Troon.

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Wouldn’t that be something? After all this time? As of now, the plan is for the bar at Holywood Golf Club to stay open on Sunday. Maybe this is the one.

(Illustration: Dan Goldfarb / The Athletic; photos: Brian Lawless /PA Images, Luke Walker, Saype / Belfast Photo Festival)

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Do You Know Where These Famous Authors Are Buried?

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Do You Know Where These Famous Authors Are Buried?

A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself — or have a lasting influence on an author. With that in mind, this week’s literary geography quiz highlights the final stops for five authors after a life of writing. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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Whatever you do, don’t think of a bird.

Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?

Before you answer, read this poem, which is quite literally about not thinking of a bird.

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Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.

Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.

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Wallace Stevens in 1950.

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Walter Sanders/The LIFE Picture Collection, via Shutterstock

As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.

Are those worlds real?

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Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.

Until then, we find consolation in fangles.

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.

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Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.

Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.

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“I like there to be a freshness, a discovery and an immediacy to my narration,” Wheaton said. He recorded “The Body” in his home studio in California. Alex Welsh for The New York Times

A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.

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But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”

The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.

Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.

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This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

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Wheaton on channeling a co-star’s performance.

There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”

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It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.

That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.

“The Body” Read by Wil Wheaton

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“You’re just a kid,

Gordie–”

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“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

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if I was!

It’s like

God gave you something,

all those stories

you can make up,

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and He said:

This is what we got for you, kid.

Try not to lose it.

But kids lose everything

unless somebody looks out for them

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and if your folks

are too fucked up to do it

then maybe I ought to.”

I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?

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So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.

I could hear and feel it. It was the weirdest thing. It’s like I was right back there.

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I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.

“Rob gave me a gift. Rob gave me a career.”

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Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.

Rob really encouraged us to be kids.

Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.

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We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”

The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”

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Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”

Rob Reiner in 1985, directing the child actors of “Stand By Me,” including Wil Wheaton, at left. Columbia/Kobal, via Shutterstock

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The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.

“The Body” Read by Wil Wheaton

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They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

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I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

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and hauled ass out of there,

giving them the finger over my shoulder as I went.

I never had any friends later on

like the ones I had when I was twelve.

Jesus,

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did you?

When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”

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Jerry O’Connell and Wheaton joined more than a dozen actors from Reiner’s films to honor the slain director at the Academy Awards on March 15, 2026. Kevin Winter/Getty Images

And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.

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“I was really really really excited — like jumping up and down.”

The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.

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I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.

I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity. ​​

That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.

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“The Body” Read by Wil Wheaton

“Will you shut up

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and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

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Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

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“It’s not really much—”

“Naw,

we don’t expect much

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from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

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“So anyway.

It’s Pioneer Days,

and on the last night

they have these three big events.

There’s an egg-roll for the little kids

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and a sack-race for kids that are like eight or nine,

and then there’s the pie-eating contest.

And the main guy of the story

is this fat kid nobody likes

named Davie Hogan.”

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When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.

I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.

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“I feel the loss.”

Wheaton remembers River Phoenix.

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The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.

I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.

What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.

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And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.

“The Body” Read by Wil Wheaton

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Near the end

of 1971,

Chris

went into a Chicken Delight

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in Portland

to get a three-piece Snack Bucket.

Just ahead of him,

two men started arguing

about which one had been first in line.

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One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

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and was stabbed in the throat.

The man with the knife had spent time in four different institutions;

he had been released from Shawshank State Prison

only the week before.

Chris died almost instantly.

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It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.

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